Southern smooth-talking Professor Goldthwait Higginson Dorr (Tom
Hanks) rents a room from church-going elderly African-American
Marva Munson (Irma P. Hall). He manages to blind her to his real
purpose there: he has assembled a motley team in a criminal
venture to tunnel into a casino boat’s on-land vault and steal the
money. Under the guise of a church band, they take over her root
cellar until she sees something she shouldn’t have. Now, they have
to bump off the old lady! Or try.
CRITIQUE
Though drama has proven his recent forte, yet Tom Hanks started in
comedy, so let’s not forget. Aside from Nora Ephron romantic
comedies with Meg Ryan, he hasn’t really entered the comedy genre
for quite some time. To jump back in with a bad-guy role under the
direction of the Coen Brothers and their unique style was a wise
move on Hanks’ part, and of course he has the chops to pull it
off. The Ladykillers, though not great, is a good film with
well-sized humor and distinctive writing, as well as fine
directing, which is topped off by Hanks’ reliable ability.
The films of the Coen Brothers of late have a strong Southern
flavor, especially O Brother, Where Art Thou?. Even Intolerable
Cruelty, a big city romantic comedy, had a Texan character in it.
The familiar Southern, African-American church-thumping gospel
choir makes frequent appearances, for example. The Coen Brothers
also have a habit of writing gallows humor. I noticed this
especially here in the final act of the film, which is downright
morbid. That is my largest complaint here, though I also could
have done without a least some of the many curse words included.
Much of the comedy is funny, however, and the Coen’s have added a
few nice touches, such as the way Dorr is first introduced and
that the painting in Munson’s house changes expressions.
The acting is a main attraction of the film. Hanks needs no
comment by now, with his level of talent and skill. He gets a
chance to create a character here and he runs with it. Bad teeth,
a silly laugh, and silver-tongued speeches make him an
entertaining sight just by himself. He’s got good support, though.
Fans of Irma P. Hall will be reminded of her hilarious turn in
Nothing to Lose, and here she slaps Marlon Wayans for using
“hippity hop” language. Tzi Ma and Ryan Hurst don’t get much
dialogue, but Spider-Man’s J.K. Simmons hits the bull’s-eye as
Garth Pancake, the team’s explosive expert. Yeah, the Coen’s like
weird names.
THE VIDEO
The 1.85:1 anamorphic widescreen format preserves the print
quality and framing of the theatrical version.
THE AUDIO
This presentation features Dolby Digital 5.1 Surround Sound as
usual and a French language track. French and Spanish subtitles
are also available.
THE EXTRAS
The Slap Reel: Outtakes - These are unused takes from the
two main “slapping scenes” - both involving actors Hall and
Wayans. It’s actually pretty funny and not too long.
The Gospel of The Ladykillers - This feature
presents the two gospel performances glimpsed in the film in their
entirety. The Abbot Kinney Lighthouse Choir with Rose Stone and
the Venice Four provide rousing vocals of “Shine On Me” and
“Trouble of This World”. Music fans
will enjoy this.
Danny Ferrington: The Man Behind the Band - This is the
most substantial of the extras, a lengthy featurette on the film’s
Luthier, or stringed-instrument maker, Danny Ferrington. Mostly an
interview with Ferrington, it is supplemented with on set
interviews with the directors and Hanks. It is interesting to
listen to Ferrington, obviously an easy-going man, as he describe
his work process, past collaborations with musicians, and the
instruments he made for the film.
FINAL THOUGHTS
Not the Coens’ best film, but Gothic fun nonetheless. See Hanks in
top form and some good laughs by renting The Ladykillers. The
extras on the disc could have been filled out more, but the film
is worth it to get a recommendation from me.
